032c Issue #33 — Winter 2017/18 “BERLIN KIDZ” OUT NOW!

How do you write in an age of anger? By using text as a weapon to deface the establishment.

This is lesson number one of this issue’s dossier BERLIN KIDZ, which follows the anonymous group of graffiti writers, videographers, and train-surfers to the highest points in the German capital. Meanwhile in New Jersey, FRANK OCEAN lives out his exile on Main Street and receives a fresh glow from PETRA COLLINS and ALEX NEEDHAM. In two 032c archeological expeditions, MARIO TESTINO explores the shores of Pompeii, while KATERINA JEBB visits BALTHUS’s Grand Chalet for an editorial posthumously narrated by a conversation between the late painter and DAVIDBOWIE. We delve into the psyche (and country home) of artist JORDAN WOLFSON and escape a Parisian hospital with JACKIE NICKERSON. Writer PANKAJ MISHRA explains why embarking on modernity was such a risky project and how we ended up in an “Age of Anger.” In a chilling personal essay, CEO MATHIAS DÖPFNER recounts his travels to the Nazi Death Camps in Poland. DANIEL RICHTER and LUDWIG LUGMEIER perform a séance on Jewish exile, Al Capone bodyguard, and lost modernist JACKBILBO, while PIERRE-ANGE CARLOTTI imagines the death metal cowboys of Botswana in Berlin. We speak with ABRA, BJARKEINGELS, TACO, and JULIANA HUXTABLE, and last but not least, KRIS VAN ASSCHE, who tells us what it means to be an Homme on the occasion of his 10 year anniversary as artistic director of Dior.

Also included with the issue are sticker pages featuring designs by AMBUSH, Geoff McFetridge, J.W. Anderson, SSS World Corp, Wes Lang, and Virgil Abloh c/o OFF-WHITE.

LYDIA DAVIS does not do interviews anymore, as she told me in an interview. She does not like to give a lot about herself away, and, as evidenced by her agreeing to meet at a café near New York University (where she teaches writing), she embodies many contradictions.More

032c Issue #33 — Winter 2017/18 “BERLIN KIDZ” is OUT NOW! How do you write in an age of anger? By using text as a weapon to deface the establishment. This is lesson number one of this issue’s dossier BERLIN KIDZ, which follows the anonymous group of graffiti writers, videographers, and train-surfers to the highest points […]More

Deeper

“Struggle in the street was combined with otherworldly utopias in the low budget, small circulation architectural magazines of the 1960s and 1970s. Free of the constraints of finance and convention, the genre served as an international platform for experimental design and discourse and was instrumental in the progress of architectural modernity.”

032c WWB Writer's Belt

If not you, then who?EmailA semi-regular digest of our latest content, products, and activities. GDRP-proof. We don’t spam.

“Artists, of course, have always liked to think of themselves as rebels but, the truth is, as long as art remains a prestige economy of the free market — a glitzy barnacle on the side of global finance — it cannot be an effective tool for political change. The best it can hope to do is comment on the political situation after the fact, ‘thematize’ it as it unfolds, or in rare, purely serendipitous cases, anticipate it.”

One Sunday in 1952, Lieutenant John Kilburn of the Royal Air Force noticed an unidentifiable silver object, “swinging in a pendular motion . . . similar to a falling sycamore leaf.” The sighting prompted the opening of the UK's Unidentified Flying Object department within the Ministry of Defence, a desk which collected sketches and reports from members of the public, collected here in a hysterical architecture of the British collective unconscious.MoreAugust 10, 2018

At a show in Berlin, the trans experimental musician spoke about the difference between music and language, her fascination with geology, and physicality in the internet age. For Crampton, who was born in California to Bolivian parents, the very notion of becoming as something that occurs “beyond a constitution of discreet-particle physics.”MoreJune 26, 2018

What are tactical and technical garments? Why are they suddenly on the runway? Artist, personal trainer and designer Nik Kosmas unearths the category's origins, and reviews a selection of 2018's best apparel from Crye Precision, Arc’teryx, Lundhags, and 5.11 Tactical.MoreAugust 7, 2018

032c Resist Socks

Deliberate art direction may seem out of scope for a scene known for crude songwriting and in-your-face lyrics, but the most impactful bands of the hardcore spectrum have often been those who opt for a considered design direction to accompany their impulsive music. And in a world that rewards a “no fucks given” attitude, a punk band having a glossy art direction is pretty damn punk.MoreAugust 4, 2018

TRAVIS SCOTT’S ASTROWORLD HAS DROPPED.

A public service announcement from TRAVIS SCOTT in 032c’s Summer Issue 2018:

“TO ALL THE FANS THAT COME FROM MILES, I HAVE BEEN WORKING VIGOROUSLY ON MY ALBUM THAT HAS MADE MY BRAIN MORE RADICAL EVERY TIME I PLAY IT. IT MAKES STORMI HIT THE MOONWALK EVERY TIME I HIT PLAY. AND IT’S SOMETHING I PLAN ON DELIVERING TO THE FANS AT ULTIMATE HIGH VOLUME. COME ONE. COME ALL. BE PREPARED TO RAGE AND LEAVE IT OUT ON THE FLOOR. THANK YOU AND GOOD NIGHT FROM ASTROWORLD.”

Ever since the Romantics, the creative individual has been an American icon. But the kind of creativity that’s never gotten any attention is working class creativity.

Do you know how creative you have to be to be a single mother with a below-poverty-level income, intermittent access to food stamps and food, some job or no job, and be able to make a living, and make a family stay together?

That’s the kind of creativity, the kind of MacGyvering, that engineers just never think about.